Win Why Him? On Blu-ray

To celebrate the release of the hilarious and laugh-out-loud comedy on WHY HIM? Blu-ray, DVD and VOD, available now, we have two copies on Blu-ray to give away.

Bryan Cranston and James Franco fight the ultimate battle of wits and wills in this outrageous, no-holds-
barred comedy from filmmaker John Hamburg (I Love you Man, Along Came Polly, Meet the Parents,
and Zoolander). Ned (Bryan Cranston), an overprotective but loving dad, and his family visit his daughter
at college, where he meets his biggest nightmare: her well-meaning but socially awkward Silicon Valley
billionaire boyfriend, Laird (James Franco). A rivalry develops, and Ned’s panic level goes through the
roof when he finds himself lost in this glamorous high-tech world and learns that Laird is about to pop the
question.

From the film’s set at Fox Studios in Los Angeles, James Franco explains his
attraction to the role and working with Bryan Cranston.

What first appealed to you about this
project?

John [Hamburg] brought it to me and I knew John - he was my professor
at NYU, when I was there for graduate filmmaking - so I was interested. I met
Bryan for the first time backstage on the last episode of THE COLBERT REPORT.
He came up to me backstage and said, "I've got this script WHY HIM?, maybe
we should discuss it." That got us kind of talking and emailing.
Eventually we met with John and really talked out the script and went over the
whole thing together. We talked about where we wanted to go. I thought, John
directing and starring opposite Bryan was a great combination.

How much have these characters
developed since you and Bryan Cranston were brought on board?

The character developed a bit. The setup has always
been that I'm someone who is repellent to Bryan's character, but in a particular
way where most of it is surface level stuff that's upsetting him, and he can't
really see beneath it and understand that I'm actually a decent guy who really
loves his daughter. That setup was always in place. It's just the particulars
of what was setting him off, the specifics of the tattoos, the attitude that I
have and all of those little things that developed. Maybe John [Hamburg] and I
molded that as we went along.

Bryan said that
the thing about Laird – your character – is that everything he says is
truthful, and it’s just that the way he says it grates on Ned, Bryan’s
character.

Yeah. I think the whole movie depends on that. I'm not
somebody that is actually bad for his daughter. I'm actually good for his
daughter. It's just that he has to
misunderstand me. I felt like that was a little tricky because it was really
important that Laird be an honest and loving person, but doing that, and then
not having him come off as soft, is a challenge. If it's clear from the
beginning that he's actually a really good person. If it would be obvious to
somebody like Ned, then the movie wouldn't work, so he can't come off soft.
Maybe it’s a generational thing with these two. Perhaps it’ll split along
generational lines. The fathers will root for Ned, and the kids will like
Laird. [laughs]

How has it been
to find that level of comic antagonism with Bryan?

It's been very easy. Bryan is so good that it's sort
of like he just understands. It's a great feeling when you work with a partner,
especially in comedy, where there is a lot of improv. When you have a partner
who just sort of gets it, then it's like playing music. It's like playing jazz.
Then you can roll and build off each other.

One of the key elements for me in this project was Bryan.
I knew John before. John had actually been my teacher, although I couldn't go
to class very much because I was doing 127 HOURS at the time. [laughs] He was
my directing teacher at NYU. I've known John for a long time and really liked
his stuff. And I’d heard great things about him from friends of mine like
Rashida Jones. She'd worked with him.

Knowing that it would be opposite Bryan was one of the
most interesting things to me, especially because I'd been doing a fair amount
of comedy, mainly with Seth Rogen, and I liked the idea of having a different
kind of comedic partner to bounce off and see where that took us.

You seem to come
from very different comic sensibilities. To continue the jazz analogy, are you
each different instruments?

Yeah, I guess you could say different instruments,
although I think there's a great understanding that we're playing the same
music. We're different instruments, but we are playing the same tune. That's
great when you have that.

Even though the characters in the movie are maybe
misunderstanding each other, and to that extent are at odds with each other,
behind the scenes it's the exact opposite, because I'm depending on Bryan for
my character to work. I need him to provide an obstacle for my character. My
character wants his approval to marry his daughter. He, in the same way, is
dependent on me for his character, that his character needs to be annoyed and
upset that his daughter is going to marry a guy that he thinks is not right for
her. If I don't play a certain amount of obnoxiousness and obliviousness on the
surface then he's got nothing to react to. If he doesn't give me an obstacle by
withholding his approval then I don't have anything to play either.

Bryan, he's kind of a team mate that understands the
bigger picture. I think that partly comes from him being a great actor. I think
you also learn, when you're an actor who has directed like Bryan has about
seeing things in a completely different way and a much more experiential way.
When he acts he's also trying to deliver on that.

You’re a prolific
director yourself, and you have all these other interests in your expression of
art. Do those other interests all help with understanding your job as an actor?

I think all of the things I do are connected. I guess
I like the idea that, because I can do different things, it puts me in a position
where I can have form match content, so that if I have an idea I can sort of go
through and think about, what's the best form for this? Some things work better
in one form than others and vice versa. I like being in that position where I
can decide that and have the ability to execute that.

Everything informs everything. When you edit a film
you understand how a performance is reading, what's actually being used and why.
When you write a film, it teaches you to look to what part of the story are you
telling? What's essential to the story? How are you structuring it, and how's
that going to change the nature of the project? Everything informs everything
else.

Is there an
element of self-parody involved in playing Laird? You’ve been unapologetic
about your interests as an artist, even as you’ve faced criticism or
misunderstanding. And while Ned dislikes Laird for much of the movie for his
eccentricities, as you say he’s a good guy at heart and he’s being
misunderstood.

I see the parallel that you're talking about, but I
guess I didn't really think of it that way. What I thought about was, if the
character is obnoxious, goofball and crude on the surface, then he shouldn't be
that way on the inside, and should be oblivious to the effect he has on people.
In his heart, his motives are all good, and it was just really a
misunderstanding on Ned's part, that Ned was looking at the surface, and not
seeing beneath.

For me, I guess if I was making a parallel I'd say I
know that I can't really control my public persona, and that it’s based partly on
things that I do, but also on the way that people view me, and the way that
they view my connection to the roles I play, the magazines that feature me and
whatever else. There came a point in my career where I stopped worrying about
trying to control that, because I can't control how people see me. I just
started to have a little more fun with it. I think I'm much more at ease with
it now.

In a movie like THIS IS THE END, where we're playing
versions of ourselves, that was pretty easy for me. I was told that all the
other actors had at least one scene where they told Seth [Rogen] like, "I
don't want to do that." I didn't have that. It was easy for me because I'd
already been having fun with my public persona.

You have involved
Bryan, Megan Mullally and Zoey Deutch in the film you’re directing, THE
MASTERPIECE, in which you play Tommy Wiseau, the director of THE ROOM. How did
that happen?

We've been talking about WHY HIM? for a while, and
that's how I met Bryan. We actually met backstage on Stephen Colbert’s show;
the last episode of THE COLBERT REPORT. He said, “I've been talking to John,
and are we going to do this?” That's when I met him and we started talking.
Between then and now, I directed a bunch of movies and Bryan was in two of
them. He was gracious enough to be in my Steinbeck adaptation, IN DUBIOUS
BATTLE, and he plays himself in THE MASTERPIECE. THE ROOM was made in the early
2000s, so it’s Bryan Cranston from MALCOLM IN THE MIDDLE.

And then Megan plays Greg Sestero’s mother, with my
brother Dave playing Greg. That was totally coincidental. We cast her and then
John had been talking about using her. I don’t even know if he had quite cast
her at that point. And also, getting to know Zoey on this, I just asked her to
jump in. We were actually thinking about Keegan-Michael Key for another role
too, but that didn’t work out. Actually, John said to me, “If you put Keegan in
there, you’re fired.” [laughs]

To be in with a chance of winning, simple submit your name and address details to contest@whatculture.com, remembering to quote 'Why Him?' in the subject line.

WHY HIM? is available now on Digital HD, Blu-ray and DVD, from Twentieth Century Fox Home Entertainment.

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